"Viktor" Movie Review

My review of "Viktor" staring Gérard Depardieu, Elizabeth Hurley, Evgeniya Akhremenko.

"Viktor"

Posted on Oct. 24, 2014  on CWAtlanta.cbslocal.com

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Photo courtesy of Inception Media Group

“Viktor” (2014)

“Viktor” is a film noir set in modern Russia, where century’s old architecture clashes with the contemporary city of nightclubs and art galleries. Viktor (Gerard Depardieu) is a Frenchman, who has many dealings in Russia. He has been away serving time in a French prison for seven years, only to come back to try to find out who killed his son. He is first greeted by a detective, trying to solve a stolen painting cold case she suspects Viktor perpetrated. The detective is more interested in solving the missing painting case then the murder of Viktor’s son.

Seeing that he won’t get any help from the police, Viktor seeks help from an old friend, a renowned Chechen ballet choreographer named Souliman (Eli Danker) and a former lover and partner in crime, Alexandra (Elizabeth Hurley). Everywhere Viktor turns there seems to be another roadblock. Even his son’s girlfriend won’t help, telling him that his son was involved with a bad crowd, dealing in drugs and money laundering. Viktor decides the only way to get answers is to take on the Russian mob by breaking a few heads on the dirty streets of Moscow. Viktor is determined to find his son’s killer or die trying.

The film is beautifully shot, and the composition by Director of Photography Jean-Francois Hensgens brings out the stunning Russian landscape. Unfortunately, the beauty of the film is brought down by the clunky dialogue and the slow, plodding plot. Except for Hurley, English is not first language for most of this European cast, making it hard to understand at times what they are saying. The first half of the script, written by writer / director Philippe Martinez, is excruciating slow, taking forever to introduce us to the main characters. Depardieu spends the first thirty minutes of the film walking the streets seemingly lost until he encounters a landmark or two. I did like some of the action sequences, with a car chase at night through the streets of the city the highlight of the film. However, it doesn’t make up for the slow pace. Once Viktor figures out who killed his son, it takes way too long for the revenge to take place.

There is no chemistry between Depardieu and Hurley, making them more like acquaintances. Their scenes together seem forced and uncomfortable. In fact, there is more intensity between Depardieu and Danker, playing his right-hand man, then there is between the two so-called lovers. I have always like Depardieu, but he is just too restrained in the role. I would have liked a more passionate performance from him. Not once so you see the fury or the pain that the role needed from a grieving father than is capable of getting his revenge. Hurley is never asked to do more than look cool and beautiful. Many of the supporting actors seemed to have been cast from the “Russian School of acting like a mobster.”

The film certainly looks the part of a noir genre film and benefits greatly from filming on the means streets of Russia. But the movie lacks substance, going for more style than plot. I would have preferred a faster pace with bolder action sequences.   It’s a film that looks great, but never delivers the goods. You never get the suspenseful action movie that you want, ultimately wasting the talents of Depardieu.    My Rating: Cable

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

“Viktor” is playing exclusively at AMC Colonial 18 Theatres

"Wadjda" Movie Review

My review of the Saudi Arabian film "Wadjda"

 "Wadjda"

  Posted on Oct. 18, 2013 on CWAtlanta.cbslocal.com

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Photo courtesy of Sony Pictures Classics

“Wadjda”  (2012)

First, let’s start with a little background about “Wadjda.” There are no movie theatres in the Kingdom of Saudi Arabia. In creating this film it made it the first movie to be completed entirely within the borders of Saudi Arabia. The cast was completely from Saudi Arabia, as was most of the crew. But the intriguing fact about the film is it was written and directed by a female Saudi citizen, Haifaa Al-Mansour, in a country where females are not allowed to drive. That this film got made is a miracle in itself but that it’s that country’s first ever entry into the Academy Award Best Foreign Language Film category makes it even more remarkable.

Wadjda (Waad Mohammed) is a 10 year old girl living in the capital city of Riyadh. She lives with her mother (Reem Abdulah), who every day has to be driven to her job. Her father (Sultan Al Assaf) is rarely home, though the few interactions with Wadjda seem warm and caring. At first glance it seems that the home life is ideal, but there is tension in the domicile.  Her father is being pressured by his mother and other members of his family to take another wife to produce the much desired son, since Wadjda’s mother cannot have any more children.

Wadjda is smart, spunky, loves modern rock music and is very outspoken with both her mother and her teachers. Her best friend is a boy named Abdullah (Abdulrahman Al Gohani) who playfully teases Wadjda, mostly from his bicycle. On her way home one day, she spots a girls bike, almost magically moving through traffic attached to the roof of a truck. She follows the bike to a shop and is told by the shop owner that she will never own the bike, it costs too much for someone of her standing.  Her dream is to ride in a race with Abdullah, a race she tells him that she is certain that she would win.

This makes Wadjda determined to get the bike (she seems to thrive on being told no). So she sets out to make the money it will take to purchase her dream. She sells handmade bracelets and does odd jobs for the older girls in school.  Wadjda’s world changes when she discovers that there will be a contest in school for the best recitation of the Koran, with the winner getting more than the amount that she needs for the bike.  Wadjda then makes it her mission to win the contest.

Writer/director Al-Mansour does an excellent job of immersing us into a different culture slowly, letting the audience get their bearings. Yes, there are some points made at how tough a woman’s life is in her own country. Yet the film never hits you hard with these points, rather subtlety showcases these issues to viewer. Al-Mansour allows the audience to really get to know these characters in an in-depth way; especially with the interactions with Wadjda and her mother, so that we begin to understand their culture and way of life.

Waad Mohammed is truly wonderful as the determined Wadjda. We instantly like her from the moment that she appears on the screen. She is the ultimate underdog in a society that seems to want to place roadblocks in the way of such a girl that basks in independence and individuality. Mohammed has a charisma on screen that just shines through. By the end of the film you have fallen in love with this assertive, intelligent girl.

Photo courtesy of Sony Pictures Classics

Wadjda is a smart, touching film that deals with its subject in a warm and enjoyable way. Making it a film that shows the strength and determination of a young girl who dares to dream the impossible and won’t give up till she succeeds.  It’s also a film about the love between a mother and her daughter in a culture that doesn’t always celebrate women.

My Rating:  Full Price
“Wadjda” is currently playing in  Atlanta, Ga  at the UA Tara Cinemas 4

"St. Vincent" Movie Review

My review of "St. Vincent" starring Bill Murray, Melissa McCarthy, Naomi Watts.

"St. Vincent"

Posted on Oct. 17, 2014  on CWAtlanta.cbslocal.com

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Photo courtesy of The Weinstein Company

St. Vincent (2014)

Vincent (Bill Murray) is in a bad place in his life, and he will let anyone know it. He lives alone in a rundown home, is overdrawn at the bank and can’t win for losing at the race track. Vincent is a regular at the corner bar where the bartender tries to cut him off, to no avail. He owes serious money to the local bookie and can’t borrow any more money on his house. It seems Vincent’s only friends are his cat and a pregnant Russian stripper/prostitute named Daka (Naomi Watts) who sleeps with him for money.

Vincent wakes up one morning to discover that a moving van has backed into his tree in his front yard, and a limb has come crashing down on the hood of his car. A single mom Maggie (Melissa McCarthy) and her young son Oliver (Jaeden Lieberher) are moving in next door.

Maggie is in the process of getting a divorce from Oliver’s father, and they have moved to Brooklyn to start their life over. Oliver’s first day at his new school is a disaster, as bullies steal his clothes, keys and phone while he is in gym class. Maggie isn’t at home after school is out, so Oliver is forced to knock on Vincent’s door to wait for his mom, starting a friendship between the two that will change both of their lives.

“St. Vincent” is such a fun ride that you are willing to overlook its flaws (it does have a few.) Vincent isn’t the nicest person, seemingly only caring about himself. He constantly throws out put-downs and rarely sees the good in any situation. But early on he sees something in Oliver that is worth bringing out. Oliver is also able to look past Vincent’s gruff exterior, choosing to see the person that Vincent rarely shows to the world, a man who cares. Writer / director Theodore Melfi slowly peels away the layers of Vincent’s cranky personality, letting us ultimately see that there is a real person beneath all that bluff.

Bill Murray is the draw for this film, and he is excellent in the role. You can almost see the delight he has playing a man who on the surface isn’t very likable. Murray kind of coasts through the first portion of the film but makes up for it when the part makes him work, both psychically and emotionally, in the second half of the film. It’s the chemistry between Murray and Lieberher that makes this movie as moving as it is. Both have incredible comedic timing, and each actor can deliver a deadpan line with the best of them. If Murray is the center of the film, Lieberher is the soul, playing the part of Oliver to perfection. Lieberher delivers a speech near the end of the film that didn’t leave a dry eye in the house at my screening. A lesser actor would have destroyed this film, and it’s to Lieberher’s credit that this movie hits its emotional levels so

The rest of the cast is equally good. McCarthy shows her dramatic chops, toning down her normal over-the-top performance for a more restrained role that has a lot of heart. Naomi Watts as the” speak your mind” Daka, delivers most of the laugh out loud lines and plays very nicely off of Murray. Terrance Howard, while not asked to do a lot, does bring out a bit of his comedic side with his menacing bookie role.

For a film that has a mean, unlikable main character, it’s remarkable that this film is so much fun and has such an uplifting message. Writer / director Theodore Melfi does an impressive job bringing us an enjoyable film to watch and experience, filled with remarkable characters. You might not want to invite Vincent to your home, but you will want to spend some time with him and Oliver.   My Rating: Full Price

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

“St. Vincent” Website

"Keep on Keepin' On" Movie Review

My review of the documentary "Keep On Keepin' On"

"Keep On Keepin' On"

Posted on Oct. 17, 2014 on CWAtlanta.cbslocal.com

Wayback Machine Archive Post

Photo courtesy of Radius/TWC

“Keep On Keepin’ On”

Clark Terry has been called the greatest trumpet player ever. He played with some of the finest jazz bands in the world, including the Count Basie Small Band and the Duke Ellington Orchestra. He was the first black staff musician on television when in the 1960’s he played in the NBC Tonight Show with Johnny Carson band. Not only a great musician having played on over 1,000 albums in his career, Terry made it his life’s work to teach and mentor young musicians, just as Count Basie and Duke Ellington had done for him. Terry mentored such jazz legends as Miles Davis, Quincy Jones, Wynton Marsalis, and Dianne Reeves.

“Keep On Keepin’ On” is a documentary highlighting the unique friendship between up-and-coming 26-year-old blind piano player Justin Kauflin and 90-year-old Clark Terry. Both men are about to embark on tough times. Terry is battling diabetes and is trying everything to save his foot from amputation. Justin is about to compete as a semifinalist at the Thelonious Monk International Jazz Competition while realizing that he will have to move back in with his parents. He has been living on his own in New York City with his guide dog but hasn’t gotten enough gigs to stay in his apartment. Both have the loving support of their families; Terry has his beautiful, patient wife, Gwen and Justin has his mom and dad, with mom being his personal chauffeur.

Photo courtesy of Radius-TWC

And while they each have family and in the case of Justin, a loving guide dog named Candy, the core of this film is the friendship of the two musicians. Justin, who lost his eyesight at an early age, became a musician when he could no longer play video games or basketball. Clark first heard the Duke Ellington band play at age ten and was so inspired that he created his own horn out of junk he found in his neighborhood. The homemade instrument made such a racket that his neighbors got together and bought him his first real trumpet. Terry and Justin met when Justin was attending college, and Terry was teaching seminars there. From the first time you see the two of them interacting over how to play a jazz song, you see just how close they are and how their love of music brings them together. Justin light’s up in Clark’s presence, and Clark feeds of off Justin’s enthusiasm. Both have something else in common besides the love of music. Terry is also blind due to his lifelong battle with diabetes.

The film shows some incredible footage of Terry playing some of the greatest jazz compositions with some of the all-stars of the 50’s and 60’s jazz scene. The performances are so magical that even if you aren’t a jazz fan you can’t help, but tap your foot in time with some of the songs. Interspersed throughout the film are interviews that Terry has done throughout his long career giving us insight to his love of music and his infectious positive views on life. There are also interviews with people that have been touched by knowing Terry, including Bill Cosby Herbie Hancock and Quincy Jones. The love for this wonderful man just comes out through the screen as people practically burst to tell about their love and admiration for the man.

This is a moving and inspiring film, making it one of the best documentaries of the year. It’s a remarkable film filled with Terry’s wit and wisdom as he mentors Justin to become not only a better musician but also a better person. It’s a movie displaying the love and friendship between two men who, though separated by age, are brought together in an effort to make the world a better place by filling it with joyous music.   My Rating: I Would Pay to See it Again

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

“Keep On Keepin’ On” Facebook page

"Two Faces of January" Movie Review

My review of "The Two Faces of January" starring Viggo Mortensen, Kirsten Dunst, Oscar Isaac.

"The Two Faces of January"

Posted on Oct. 10, 2014  on CWAtlanta.cbslocal.com

Wayback Machine Archive Post

Photo courtesy of Magnolia Pictures

"The Two Faces of January" (2014)

Colette (Kirsten Dunst) and Chester (Viggo Mortensen) seem like your perfect couple. Traveling in Greece, they are well to do tourists who are enjoying their second honeymoon. Chester is a little more reserved than his outgoing wife, but both enjoy being in each other’s company, trying to soak up everything that the famous city of Athens has to offer.

When we first meet Rydel (Oscar Isaac), an American with Greek origins, we see a man who is sizing up the tourists. Rydel is looking for the biggest and possibly easiest couple that he thinks he can make the most money off of. He sets his sights on Colette and Chester, offering to help them get the best price in the marketplace. Rydel does cut a deal, but he pockets a good portion of the money Chester gives him, using a sleight of hand money exchange with the merchant. Chester calls him out on it but to Rydel’s surprise, instead of demanding the money back, Chester invites Rydel to join him and his wife for dinner. Rydel accepts but will soon regret meeting the couple, as it seems Rydel isn’t the only one of the group that has a hidden agenda. It’s an agenda that could cost Rydel his life.

Photo courtesy of Magnolia Pictures

“The Two Faces of January” is a stylish thriller that is long on appearance but, unfortunately, is short of on a storyline. I thoroughly enjoyed the first 20 or so minutes of this film, and I wanted to see where the film would go, once the major plot point revealed itself. Unfortunately, like a bad tour guide, the film looks beautiful with its travels through some gorgeous historical places but never takes you where you truly want to go. The biggest problem with this film is we just don’t care for any of the characters. We never get fully vested into the characters, so what happens to them doesn’t matter. Too often, the director / writer Hossein Amini, hits us over the head with plot points, when a much subtle hand would have made the film much richer and interesting.

Photo courtesy of Magnolia Pictures

Of the three main actors, Oscar Isaac playing the in over his head Rydel, comes closest to getting us to care about his character. But Amini doesn’t give him enough to work with and Rydel, instead of the sympathetic character, comes off a little dense and shallow. There is good chemistry between Isaac and Dunst, but is offset by the lack of spark between Mortensen and Dunst. Instead of two characters that are in sync due to their having spent time together, it’s as if husband and wife have just met on a blind date. Dunst isn’t given much to work with either, having to play Colette as a hapless victim. Mortensen gives the most unsatisfying performance of the three, chewing up scenery where a lighter touch would have been a better choice.

Photo courtesy of Magnolia Pictures

This is a beautiful film and cinematographer Marcel Zyskind perfectly captures the magnificence of the locations. Bathing the film in subtle yellows and browns combined with gorgeous costumes by Steven Noble, it’s a film that makes you want to go visit these places. Unfortunately, it doesn’t make you care about the characters and what happens to them. The film’s incredible look contrasts badly with a story line that is dull and listless.  My Rating: Bargain Matinee 

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

“The Two Faces of January” is playing exclusively at Landmark Midtown Art Cinema

"The Notebook" Movie Review

My review of the Hungarian film "The Notebook"

"The Notebook"

Posted on Oct. 3, 2014  on CWAtlanta.cbslocal.com

Wayback Machine Post Archive

Photo courtesy of Intuit Pictures

“The Notebook”  (2014)

War is hell and not just for the people fighting the war. War takes its toll on families left behind as well. During World War II it was common to send the children out of the city, to what their families thought was the safety of the country. The twins (László and András Gyémánt) live in a nice, comfortable home with their mother (Gyöngyvér Bognár) and their father (Ulrich Matthes), a German officer in Hitler’s army. The night that the father is going to be shipped out, they tell the twins that they are going to live with their grandmother, someone the boys didn’t know existed. Before he leaves, the father gives the twins a notebook, telling them to fill it up with everything that they do. The father promises the boys that he will see them again to read their notebook upon his return.

The mother takes the boys by train to Hungary. The boys are horrified that their mother is going to leave them with their grandmother (Piroska Molnár). She lives alone on a small farm that has seen better days. Feeling abandoned by their parents, the boys refuse to do any work around the house, and the grandmother locks them out of the house overnight to punish them. They find out that their grandmother is a mean, lonely woman whose only joy seems to come from hitting the twins with her washcloth or her hand. The twins soon learn that this isn’t Germany and that they are outsiders, considered scum by the townspeople, who look for any reason to take their frustrations out on the boys. The twins decide that if they are going to survive till their parents come back, that will have to toughen up and depend on only each other.

This is a stark, brutal look at the effects of war on the people left behind and what man will do just to survive. It’s a film difficult to watch because the twins are put through some ugly, horrific tests of their will and their love for each other. The film holds no punches, and you cringe at some of the scenes that twins are put through, including molestation and severe beatings. One of the most troubling scenes is as the two boys beat each other to the point of exhaustion, all the while calling each other every name in the book. Rarely are the boys shown kindness, as it seems even their grandmother can only give them grudging respect after they continually stand up to her. Only a Jewish shoemaker, who takes pity on the boys, giving them boots in the dead of winter, and a German officer who visits on the weekends, coming in from commanding the local concentration camp, show any interest in the twins. But it seems the Officer may have other intentions as he has a tendency to show up by the boy’s bed in the middle of the night.

Contrasting the horrible scenes that unfold, it’s a beautiful film to watch. The film at times feels like a black-and-white film, with the incredible whiteness of the snow contrasting with the dark leafless trees, and soot covered homes. Credit cinematographer Christian Berger with creating some breathing taking shots in the film. There is an amazing scene shot from above and behind as a formation of Jews are marched through the heart of the town, on their way to the concentration camp. It’s a heart-breaking scene as they stumble along in the falling snow, none of their faces showing as the townspeople call down insults.

Director János Szász gets a great performance by Piroska Molnar, who plays the twins grandmother. It’s not any easy role, being a villain who just might have a bit of love left in her cold heart. She dominates the scenes she is in and interacts wonderfully with the boys in their scenes on the farm. The twins are brothers in real life and that connection, which is so critical to the success of the film, in there in spades. They make a remarkable transformation from the happy, carefree boys in Germany, to harden, almost lifeless kids who have experienced too many bad things to ever be normal again.

This isn’t a film for everyone and can be extremely uncomfortable to watch. The movie is worth seeing for the cinematography and the performances. However, be warned, like, in war, all the characters in this film come out damaged, having experienced the worst that people can do to each other and themselves.  My Rating: Full Price

My movie rating system from Best to Worst:  1). I Would Pay to See it Again  2). Full Price  3). Bargain Matinee  4). Cable  5). You Would Have to Pay Me to See it Again

The film is playing exclusively in Atlanta at UA Tara Cinemas 4